Tomorrowland 袁廣鳴//明日樂園

  • DATE : 14/10/2020 16/11/2020
  • TIME : 12:00–13:30
  • VENUE : Online Event

Taiwan Academy Lecture


Lecture by Professor Yuan Goang-Ming


Born in Taipei, Taiwan in 1965

Now lives and works in Taipei, Taiwan

A pioneer of video art in Taiwan, Yuan Goang-Ming has worked with video since 1984, and is now one of the foremost Taiwanese artists active in the international media art circle. He received a master’s degree in media art from the Academy of Design, Karlsruhe Germany (1997), and currently holds a post as professor of the new media art department of the Taipei National University of Arts.

Combining symbolic metaphors with technological media, his work expresses the state of contemporary existence, and explores the human mind and consciousness. He received the 13th Hsiung-Shih Art Award for the Best New Artist for his video and sculptural work Out of Position (1987) while he was still in art school in 1988. In 1992, his work Fish on a Dish garnered great acclaim in the Taiwanese art circle, and received the First Prize of the Taipei County Arts Award, while The Reason for Insomnia (1998) received the Jury Prize of the 1st Digital Art Festival. His “City Disqualified” series (2002) holds an important place in the history of Taiwanese contemporary media art.

Disappearing Landscape (2007) opens with a new format of moving images, combining video art and cinema, displaying the fascinating, theatrical everyday in three-channel video installations. The 2011 exhibition Before Memory continues his exploration of the idea of “home” and expands such exploration into ruins and nature, in a diverse array of large-scale installations about time and memory, the body and perception. His 2014 solo exhibition An Uncanny Tomorrow questions the environment we inhabit in a globalized context, pondering the anxieties and apprehensions of modern people. This exhibition received the Exhibition of the Year of the 13th Taishin Arts Award. The 2018 solo exhibition Tomorrowlandpivots around the idea that home in the future is no longer solid. The works are centered on the normalization and everydayness of warfare, embodying modern-day existence and human despair. The exhibition was also invited to the Hayward Gallery in London in 2018.

Yuan has participated in various exhibitions across Asia, Europe, and America. Among these include: Aichi Triennale (2019); Beyond Bliss: Bangkok Art Biennale (2018); Biennale de Lyon: La Vie Moderne, France (2015); Fukuoka Asian Art Triennale, Japan (2014); the 7th Asia Pacific Triennial of Contemporary Art, Australia (2012); Singapore Biennale (2008); Liverpool Biennial, U.K. (2004); Auckland Triennial, New Zealand (2004); Taiwan Pavilion at the 50th Venice Biennale, Italy (2003); the 2nd Seoul International Media Art Biennale, Korea (2002); 010101: Art in Technological Timesat the San Francisco Museum of Modern Art (2001); ICC Biennial, Japan (1997), and Taipei Biennial (2002,1998, 1996).

His work is housed in public and private collections of art museums and institutions at home and abroad. He has also been on the Collections Committee of the Taipei Fine Arts Museum, and a juror of the Taipei Arts Award, Taipei County Arts Award, Public Art, Venice Biennale (Taiwan Pavilion), and Asia Society Arts Award in the United States.






袁廣鳴受邀參與大型國際展覽不勝枚數,其中包括「愛知三年展」(2019)、「第一屆曼谷藝術雙年展」(2018)、「法國里昂雙年展」(2015)、「福岡亞洲藝術三年展」(2014)、「澳洲亞太當代藝術三年展」(2012)、「新加坡雙年展」(2008)、「英國利物浦雙年展」(2004)、「紐西蘭奧克蘭三年展」(2004)、「第50屆威尼斯雙年展」台灣館(2003)、「漢城國際媒體藝術雙年展」(2002)、美國舊金山現代藝術美術館的「01.01: Art in Technological Times」(2001)、「日本ICC1997媒體藝術雙年展」(1997)、「台北雙年展」(2002、1998、1996)等。




Since the “City Disqualified” series in 2000, I have attempted to manifest Taiwan as a typical hybrid city that constantly mutates against its unique historical and political background, or to manifest a state of being where Taiwan is impossible to define or locate. “The place of ideal perfection must be elsewhere, not here.” Home has become a fluid and fragile concept. Hence, from 2007 to 2011, I attempted to capture the quotidian nature of “home” through an autobiographical and theatrical approach in the “Disappearing Landscape” series.

My solo exhibition Tomorrowland (2018) continues to explore the themes in An Uncanny Tomorrow (2014 solo exhibition), expanding from the environment where we live to the world at large. With the resurgence of the Cold War and populist ideologies, the threat of imperialism and terrorism, and drastic environmental changes, a home for tomorrow and into the future is no longer a stable concept. Pivoting around “everyday warfare,” Tomorrowland consists of works that are closely interconnected: from the blinding flash of light that symbolizes a nuclear explosion, to the air raid drills that continue post-martial law; from Disneyland representing globalization, the “non-place,” and imperial capitalism, to transnational migrant workers in search of a better life — all in an attempt to echo the anxieties and apprehensions of our convoluted world. Now in retrospect of my earliest video works in 1985 and 1987[1], it seems as though my practice has come full circle.

For the past 35 years, I have contemplated “the possibilities of the image,” and have experimented with various media in my practice. The works Towards Darkness and Towards Light on view in Tomorrowland solo exhibition are my latest creative attempts: an utterly dark space and an entirely white space, both are my ultimate reflections on the nature of the image. Simultaneously, they demonstrate the possibilities of “human corporeal perception and experience of the image” and “immersive live exhibition.”

By removing all “imagery” in Towards Darkness, I attempt to conjure the earliest nether state of human existence. This primordial state of being is like floating directionless in the sea; or as though entering a black hole. However, in the progression toward that black hole, we are perhaps able to confirm our existence from within. Like Heidegger’s reversal of Plato’s Allegory of the Cave, using darkness to represent phenomena, and using illumination to represent essence (ideology), he attempted to tell us we had always lived in darkness; but a candle was lit and we began to pursue illumination in our quest for home and hearth. In our growing obsession with illumination, we have forgotten that home has always been in the dark.[2]







[1] In my first single-channel video work About Millet’s The Angélus (1985), the video was filled with suspicion for the wonderful scenes presented in The Angélus and an inexplicable atmosphere of unease. Out of Position(1987) is my first video installation work.


[2] Heidegger outlines his reinterpretation of Plato’s cave allegory in his book The Essence of Truth: On Plato’s Cave Allegory and Theaetetus, published by Continuum, 2002海德格在《論真理的本質︰柏拉圖的洞喻和〈泰阿泰德〉講疏》(The Essence of Truth: On Plato’s Cave Allegory and Theaetetus, Continuum出版發行,2002)一書中表達了與柏拉圖「洞穴論」相反的觀點。